RHIZOME DIGEST: 07.14.06

discussion

Posted July 13 2006 20:00

RHIZOME DIGEST: 07.14.06

RHIZOME DIGEST: July 14, 2006 Content: +opportunity+ 1. Judith Fegerl: OPEN CALL paraflows 06 EXHIBITION Vienna 2. prouvost: tank.tv / DVD - CALL FOR SUBMISSION 3. yu265753@yorku.ca: CALL FOR SUBMISSIONS - Digital Feminisms: Gender and New Technologies +work+ 4. Brett Stalbaum: C5 Landscape Database API version 2.0 5. alex galloway: Carnivore – new Version 2.2 now available +announcement+ 6. marc garrett: Archived 'Month of Sundays' Real-time Internet Performances 7. Nick Hallett: BAPLab: Festival of Electronic Music and Digital Art 8. newmediamarketing@spacestudios.org.uk: SPACE Media Arts announces 4 new artist commissions focussed on RFID +comment+ 9. vandegrift2003@yahoo.com: Paradigmatic Performance- Sean Ulbert + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome is now offering Organizational Subscriptions, group memberships that can be purchased at the institutional level. These subscriptions allow participants at institutions to access Rhizome's services without having to purchase individual memberships. For a discounted rate, students or faculty at universities or visitors to art centers can have access to Rhizome?s archives of art and text as well as guides and educational tools to make navigation of this content easy. Rhizome is also offering subsidized Organizational Subscriptions to qualifying institutions in poor or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for more information or contact Lauren Cornell at LaurenCornell@Rhizome.org + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. From: Judith Fegerl <email@jdth.net> Date: Jul 10, 2006 Subject: OPEN CALL paraflows 06 EXHIBITION Vienna CALL FOR ENTRIES ———————— PARAFLOWS 06 / annual convention for digital arts and cultures 09.-16.09.2006, Vienna, Austria ———————— paraflows 06 / EXHIBITION The exhibition PARAFLOWS 06 invites you to submit contributions. The exhibition deals with current artistic positions within digital media and net cultures. We will present productions which ? using new media as a cultural tool ? aim for a better understanding of today?s society, thus also being able to utter criticism in order to redesign society. We are eager to see works highlighting and scrutinising the decisive role of new technologies in the development and the perception of presentday culture. This year?s exhibition will focus on the idea of a ?net behind the net? which can mean both the digital behind the social net, and the social behind the digital net. Paraflows (the Greek prefix ?para? meaning: beside, near, moreover) emanates from the main motors of freedom of the net and its para-experts, the wikipedias and slashdots of all areas within which consumers help each other voluntarily to become and remain critical users and experts in their fields. We are interested! in works augmenting our understanding of data protection and privacy, decentralisation, and self-publishing, works that deal with the implications of free ?social software? (web 2.0, blogs, wikis, etc.) in realspace, and in works analysing the importance of computer programming as a cultural technique. ———————— paraflows 06 / LOCATIONS exhibitions The exhibition will be held in various locations of the Viennese art and culture scene, ranging from art spaces to clubs, production sites and gallery spaces (details below). We explicitly encourage contributions which are generated for or in accordance with one of the locations, though spatial reference is by no means compulsory. For the seven days of the exhibition, there will be a ?net.art-brunch? taking place at a different location every day, intended to provide opportunities for artists and producers to communicate with each other. location_1 / ARTWARE-LOUNGE Keywords: Exhibition space of arteware.cc, quite slick environment. Space: 2 rooms, 120m2 and 40m2, in the basement. Equipment: 1 projector, dvd player, internet. Comment: the basement is highly suitable for projections. Contact: paraflow coordinator Judith Fegerl, jdth@tdth.net, www.arteware.cc location_2 / BLUMBERG Keywords: art collective and contemporary art platform, concept art, art installations, design, media art, performance & discussions. Space: 120m2, former shop with shop windows, very open, neutral environment. Equipment: collective ressources available, open Wlan, leased line. Comment: no loud sound-projects. Contact: Florian Harmer, office@blumberg.at, www.blumberg.at location_3 / PROJEKTWERTSTATT SOHO Keywords: newly renovated rooms, ground floor of a corner house, project ?Kunst-im-Stadtteil? [?art-in-the-quarter?], immigrants, participative projects. Space: 2 rooms, 55m2, 35m2. Equipment: Wlan, leased line, optional: 1 projector, dvd player, computer. Comment: interventions welcome. Contact: Ula Schneider, ula.schneider@sohoinottakring.at, www.sohoinottakring.at location_4 / METALAB Keywords: social open space for collaboration and knowledge exchange with interdisciplinary magicians and technically creative enthusiasts, grant-aided net culture. Space: 200m2 spread over several rooms, no white cube but expert atmosphere. Equipment: 1 projector, several computers (Linux), open Wlan, leased line. Comment: projects with conceptual and, even more so, technical expertise are preferred. Contact: Christopher Clay, mail@c30.org, www.metalab.at location_5 / UMRAUM Keywords: artists/architects duo, art concepts, process art, promoters of spatial phenomena, outer-institutional art, internet as fragment of the public. Space: anteroom 12m2, studio 36m2, shop 16m2, rather neutral, basement, corner house, partially reclaimable outdoor space. Equipment: 2 projectors, several monitors, 4 dvd players, 1 computer (Apple), open Wlan, leased line. Comment: suitable for installations, production, exhibitions. Contact: Kurt Weckel, umraum@sil.at, <a rel="nofollow" href="http://www.umraum.net/">http://www.umraum.net/</a> location_6 / VEKKS Keywords: classic underground subculture with Freebie Shop at the entrance, quarter socialisation. Space: about 120m2, blue walls, back yard, rustic basement of about 70m2. Equipment: Hi-fi system, 1 computer, leased line. Contact: Georg Stejskal, vekks@yahoo.com, <a rel="nofollow" href="http://umsonstladen.at/">http://umsonstladen.at/</a> and <a rel="nofollow" href="http://www.vekks.cjb.net/">http://www.vekks.cjb.net/</a> location_7 / werkzeugH Keywords: digital living room, 400m2 + 200m2 outdoor space, big glass façade towards the street, space for architectonic interventions, discourse space and DIY academy. Space: 170m2 (13 by 13m). Equipment: power, water, Wlan, leased line. Comment: happily accepted: installations with reference to realspace, outdoor space/architecture. Contact: Manfred Wuits, manfred@monochrom.at, <a rel="nofollow" href="http://einreichplan.wien.net">http://einreichplan.wien.net</a> ———————— paraflows 06 / SUBMISSION exhibition DEADLINE: August 4th 2006, 24:00:00 MET Project submissions will only be accepted in digital form as one single pdf-file sent to office@paraflows.at 1) Name, institution (if existent), address, email, phone number, website/s 2) Submitted work: title, medium, author/s, year of production 3) Please choose up to three of the following catchwords as key aspects for your submitted work: interface, database, software, device, game, animation, immersive, narrative, linear, non-linear, analogue, found footage, sonic, visual, tactile, interactive, reactive, auto-active, participatory, generative, performative, locative, networked, shared, DIY, political, archival, documentary, site-specific, urban, communal, contemplative, poetic, humoristic, therapeutic. 4) Description of the project (1 page maximum), please note preferred location 5) Technical explanations, spatial/system needs (hardware, operating system, additional software) 6) Further information 7) Biographies 8) Documentation of former projects (website/s is sufficient) Language: only works in German or English, respectively works with subtitles in one of these languages will be accepted. Works in other languages must come with a list of texts in German or English. We explicitly encourage artists and producers from outside Austria to enter the competition. Jury: The projects will be selected in consensus with the organisers of the particular location and with the exhibition management. ———————— paraflows 06 / FRAME PARAFLOWS 06, the annual convention for digital arts and cultures, is taking place for the first time, it features an exhibition, a symposium, workshops, and various social events. The four Paraflows 06-panels (September 10th ? 11th 2006) at the Semperdepot of the Academy of Fine Arts Vienna will mark the beginning of a week of work and discussion for the NetzNetz community the following days. ———————— paraflows 06 / CONTACT office@paraflows.at Festival Manager: Guenther Friesinger , Assistance: Sabine Maierhofer Exhibition: Angela Dorrer, Support: Judith Fegerl Symposium: Leo Findeisen Office: MQ Musumsquartier, c/o monochrom, A-1070 Wien, Museumsplatz 1, Austria Paraflows06 is funded by the City of Vienna, MA7 Netculture. Supported by the Academy of Fine Arts Vienna and the University of Vienna. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. From: prouvost <laure@tank.tv> Date: Jul 10, 2006 Subject: tank.tv / DVD - CALL FOR SUBMISSION To: Artists based in the UK For: Moving Images of max 3mins long & made after 2000 tank.tv?s new project is the release of a unique DVD, featuring an exceptional selection of 25 short moving image works from UK-based artists. Each work should be no longer than three minutes and must have been made in the last six years (created after December 31, 1999). Entry is open to all artists living/working in the UK. The final selection for the disc will be made by an appointed panel of curators and arts executives including: Hans-Ulrich Obrist / Ben Cook & Mike Sperlinger (The Lux) / Stuart Comer (Tate Modern) / Michelle Cotton (Salon S1 Sheffield) / Rose Cupit (Film London) / Christine Van Assche (Centre Pompidou New Media) / Kathrin Becker (NBK Berlin) The DVD will be widely distributed for sale by Thames & Hudson, in the UK and abroad. The short-listed artists will receive £250 each and have their work promoted internationally. A quarter of the produced DVDs will be given out to educational institutions, public libraries and local cultural centres, reaching more people with the best in moving images from the UK. This project is funded by the National Lottery through Arts Council England. Submission forms can be downloaded from: <a rel="nofollow" href="http://www.tank.tv/dvd.asp">http://www.tank.tv/dvd.asp</a> Deadline for submissions: 31st July 2006 Please complete the form, and send it together with your work to: tank.tv 5th floor 49-50, Great Marlborough Street London W1F 7JR <a rel="nofollow" href="http://tank.tv">http://tank.tv</a> Tank.tv is an inspirational showcase of contemporary moving images / dedicated to exhibiting and promoting moving images in a free and accessible way, www.tank.tv acts as a platform for the new, innovative work in film and video + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. From: yu265753@yorku.ca <yu265753@yorku.ca> Date: Jul 12, 2006 Subject: CALL FOR SUBMISSIONS - Digital Feminisms: Gender and New Technologies CALL FOR SUBMISSIONS - Volume 32.2 Digital Feminisms: Gender and New Technologies The complexity of new technologies has altered the way we think about time, space and ourselves in the digital age. Whether it is business, media, entertainment, advocacy, art, education, social action, politics, paid and unpaid work, or a myriad of other sites of contention, the ability of new technology to converge with and transform past, present and future ways of interacting with the world in which we live has immense and wide-ranging implications. Given this context, we are seeking contributions to a special issue of Atlantis focused on Gender and New Technologies. We invite submissions that contribute to an inquiry on how new technologies have informed gender's self expression and histories; affected gender, race and culture; influenced the representation of gender; and changed the way in which gender issues are viewed or pursued. In pursuit of a diverse and wide-ranging debate, the issue seeks contributions from a broad range of areas, including Women's Studies, Gender Studies, New Media, Cultural, Film and Communications Studies, History, Visual Arts, Computer Science and any other area relevant to the discussion. Given the complexities of new technologies, we wish to encourage submissions that think across geographical divides, histories and media, including (but not limited to) the Internet, digital arts, locative media, WiFi, aesthetic and narrative analysis, film, video, television, educational software/deliver! y, medical technologies, and visual and digital art. Interdisciplinary approaches combining target areas are also welcomed. Possible topics for this issue include, but are not limited to: * New technologies, gender and self * Gender and digital art * New technologies, gender and race * Gender and convergent technologies * New technologies, gender and media * Gender and the digital body * New technologies, gender and history * Gender and digital networking * New technologies, gender and environmentalism * Gender and discourses in computer science * New technologies, gender and social action * Gender and digital identities * Gender and issues of access to new technologies All contributions should be accessible to an audience from many different backgrounds interested in participating in the creation and sharing of feminist knowledge. Atlantis articles are peer reviewed. They contribute to a publication that strives to meet the most significant academic and feminist expectations of our colleagues. Articles submitted for consideration must be no longer than 6000 words (including notes, references, appendices, etc.) and must be typed double-spaced. Please send submissions, in sextuplicate, addressed to Cecily Barrie at the Atlantis address below. Information regarding the contributors' guidelines may be found at the web site (www.msvu.ca/atlantis), or by contacting the Atlantis office. Please note: When an article is accepted for publication in Atlantis, we ask that the contributor subscribe to the journal for one year. Like many other journals, our fiscal base is vulnerable. Subscribers to Atlantis create the possibility for the dissemination of feminist knowledge in the form of peer reviewed articles, community voices, curriculum reflections and book reviews. As contributors of peer reviewed articles, their subscriptions will assist in keeping the journal in print and available to the larger community of feminist thinkers and doers. In exchange, they will receive both the spring and fall editions plus an extra copy of the edition carrying their article. GUEST EDITORS: Sheila Petty and Barbara Crow SUBMISSION DEADLINE: February 1, 2007 Institute for the Study of Women / Mount Saint Vincent University Halifax NS Canada B3M 2J6 / tel: 902-457-6319 fax: 902-443-1352 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Support Rhizome: buy a hosting plan from BroadSpire <a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a> Reliable, robust hosting plans from $65 per year. Purchasing hosting from BroadSpire contributes directly to Rhizome's fiscal well-being, so think about about the new Bundle pack, or any other plan, today! About BroadSpire BroadSpire is a mid-size commercial web hosting provider. After conducting a thorough review of the web hosting industry, we selected BroadSpire as our partner because they offer the right combination of affordable plans (prices start at $14.95 per month), dependable customer support, and a full range of services. We have been working with BroadSpire since June 2002, and have been very impressed with the quality of their service. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. From: Brett Stalbaum <stalbaum@ucsd.edu> Date: Jul 11, 2006 Subject: C5 Landscape Database API version 2.0 C5 Landscape Database API 2.0 An Open Source GIS API for Digital Elevation Model processing and performance <a rel="nofollow" href="http://www.c5corp.com/research/demtool/index.shtml">http://www.c5corp.com/research/demtool/index.shtml</a> C5, in association with Futuresonic 2006, is proud to release the C5 Landscape Database 2.0 API to the public, in celebration of ten years of Futuresonic! <a rel="nofollow" href="http://www.futuresonic.com/">http://www.futuresonic.com/</a> *New Release* C5 Landscape Database API 2.0 New Features in version 2.0: * Virtual Hikers * Support for GPS data such as track logs and waypoints * Ability to image GPS data onto dem data * Java3d support * Ability to read land use data (CTG files) * New analytic capabilities for landscape searching Version 1.0.3 features: * DEM input packages * RDBMS packages for DEM data * Support for processing DEM data dynamically * Analytic table support for landscape searching * Simple GUI (demtool) for viewing DEMs * Support for data export and management © C5 corporation 2002-2006, under the GNU Lesser Public License (pre-2.0 libraries) and C5/UCSD AESTHETIC USE LICENCE (2.0 libraries: see source code for details) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. From: alex galloway <galloway@nyu.edu> Date: Jul 13, 2006 Subject: Carnivore – new Version 2.2 now available Carnivore – new Version 2.2 now available <a rel="nofollow" href="http://r-s-g.org/carnivore">http://r-s-g.org/carnivore</a> new features include the ability to log packets to a text file and the ability to record and playback capture sessions. questions/comments/suggestions always welcome.. + + + Version 2.2, July 2006 + moved java class files around so that there is a "core" engine responsible for all the sniffing. The Processing and CPE versions now simply act as clients for the core. + reorganized class files significantly. + CarniPacket class is now called CarnivorePacket + the class accessed by Processing is now called CarnivoreP5 (not carnivore) + cleaned up format of output string: added milliseconds to packet timestamp; changed ip/port separator to ":" which is more standard. Clients *will* have to update their parsing routines. + reinstated console window + got ride of Mac authentication launcher app – too complicated. + added ability to log packets to text file + added ability to record and playback capture sessions + dropped linux support (which was never really "supported" anyway due to difficulty of testing and debugging.) adding linux support again in the future should be easy however. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + BNMI Announces International Co-production Labs BNMI has launched its new co-production residency model which includes three exceptional programs led by three peer advisors. Apply today for one of these outstanding opportunities! Co-production Lab: Almost Perfect Program Dates: November 5 - December 2, 2006 Application Deadline: July 15, 2006 Peer Advisors: Chantal Dumas (CND), Paula Levine (CND/US), Julian Priest (DK, UK) Co-production Lab: Liminal Screen Program Dates: March 5 - March 30, 2007 Application Deadline: October 2, 2006 Peer Advisors: Willy Le Maitre, (CND) Kate Rich (UK), Amra Baksic Camo (Bih) Co-production Lab: Reference Check Program Dates: June 24 - July 21, 2007 Application Deadline: December 1, 2006 Peer Advisors: Andreas Broeckmann (De), Anne Galloway (CND), Sarat Maharaj (Sa/UK) For more information visit: www.banffcentre.ca/bnmi/coproduction or email <bnmi_info@banffcentre.ca> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 6. From: marc garrett <marc.garrett@furtherfield.org> Date: Jul 10, 2006 Subject: Archived 'Month of Sundays' Real-time Internet Performances. Archived recordings of 'Month of Sundays', ready for viewing of the Real-time, Internet Performances. Session 1, Roger Mills and Neil Jenkins <a rel="nofollow" href="http://www.visitorsstudio.org/session.pl?id=23">http://www.visitorsstudio.org/session.pl?id=23</a> Session 2, Paul Wilson and James Smith <a rel="nofollow" href="http://www.visitorsstudio.org/session.pl?id=24">http://www.visitorsstudio.org/session.pl?id=24</a> Session 3, John Hopkins <a rel="nofollow" href="http://www.visitorsstudio.org/session.pl?id=25">http://www.visitorsstudio.org/session.pl?id=25</a> Session 4, John Kannenberg and Glenn Bach <a rel="nofollow" href="http://www.visitorsstudio.org/session.pl?id=26">http://www.visitorsstudio.org/session.pl?id=26</a> info: Every Sunday afternoon throughout June, Furthernoise.org hosted live audio-visual internet performances in the online file mixing platform, Visitors Studio - in real-time. The events featured some of the most innovative international AV artists mixing remotely from various geographic locations and time zones. Which included audiences and workshops at the Watershed, Bristol. Audiences and participants at E:vent, (London) UK. Audiences and collaborations at The Point CDC Theatre (New York) US. If you want to know more about Visitorsstudio visit link below: Visitorsstudio.org If you want to know more about the venues/groups/organisers involved visit links below: Watershed - <a rel="nofollow" href="http://linkme2.net/8w">http://linkme2.net/8w</a> E:vent - <a rel="nofollow" href="http://linkme2.net/8x">http://linkme2.net/8x</a> The point - <a rel="nofollow" href="http://www.thepoint.org/">http://www.thepoint.org/</a> Furthernoise - www.Furthernoise.or Furtherfield.org www.furtherfield.org Furthernoise.org & Visitorsstudio.org are Furtherfield.org projects, supported by Arts Council England. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 7. From: Nick Hallett <nick@maisonduchic.com> Date: Jul 10, 2006 Subject: BAPLab: Festival of Electronic Music and Digital Art For more information on the following event, please contact the email address mentioned in the press release… For Immediate Release: Contact: info@bushwickartproject.org <a rel="nofollow" href="http://bushwickartproject.org">http://bushwickartproject.org</a> BAPLab A One Day Festival of Electronic Music and Digital Art Saturday, July 22nd 4pm - 6am at 3rd Ward 195 Morgan Ave, Brooklyn, NY On July 22, Bushwick Art Project (BAP) presents BAPLab, a festival celebrating digital art, music and culture with 16 hours of new media art installations, video work and electronic music from across the audio and visual spectrum. Culling artists from the rosters of the MoMA, The Whitney Museum, and the Venice Biennial along with musicians from labels such as M-NUS, Line, Kranky, Ghostly International and Clink Recordings, BAPLab is featuring over 80 musicians, performers, visual artists, new media installations and DJs side by side. BAPLab is a call to arms to the disparate tribes of New York?s digital-futurists, drawing together from among the best and the brightest of a new generation of artists and musicians. BAPLab provides attendees with a snapshot of the contemporary digital and new media arts scene, with an international roster of both emerging and established artists such as Guy Ben-Ner and Benton-C Bainbridge . The atmosphere is part high tech museum and part digital community workshop, opening participants, not just contributors, to a free-form dialog on evolution, technology, and identity in this modern era. Consider two fledgling yet world-class events, a junior Sonar and a cosmopolitan Biennial-in-training, and you have BAPLab. In contrast to the BAP Fall Festival 2005, which drew over 4000 people and was anchored by dance music legend John Tejada, this year?s installment focuses on emerging talent ? the hungry generation destined to knock down doors in the near future. The BAPLab seeks to become an integral part of moving this upcoming pool of talent forward to a position of prominence by developing a symbiotic network of creative expression and high profile spectacle. BAPLab hosts musicians that are exemplary in their fields including the ultra minimalist, MOMA approved Richard Chartier (LINE / Raster-Noton), Harvard Sound Lab?s Keith Fullerton Whitman (Kranky), laser koto virtuoso Miya Masaoka, URB?s ?Next 100? Veteran Lusine (Ghostly International) and folktronica maestro Khonnor (Type Records). A cross section of the producers and DJs currently redefining techno round out the night, including Richie Hawtin label mate Ryan Crosson, Magda and Troy Pierce favorite Camea and Insideout (Clink Recordings), Force Tracks? Hakan Lidbo, and Ghostly International?s Ryan Elliot. BAPLab also hosts over 40 sound, video and new media artists. Among the talent presented this year is video artist Guy Ben-Ner, who recently represented Israel at the 51st Venice Biennale. Curated spaces by electromagnetic arts collective, free103point9, present an exploration of Transmission Arts, featuring air-wave invading installation works by artists 31 Down, Paul Davies, and Tarikh Korula. The full roster boasts artists who have exhibited in venues from Reina Sofia in Madrid to the ICA in Philadelphia, the Contemporary Art Center in Cincinnati and the MoMA here in NYC, all the while giving equal time and exposure to the lesser known community of experimental geniuses who inhabit the far reaches of Bushwick and beyond. New art and new music, a perfect point-counterpoint to the digital revolution. The BAPLab will envelop you in a day of wonder, amazement and celebration. Do not miss this event. The BAPLab is made possible through the generous support of our Fiscal Sponsor La Lutta NMC inc, which has enabled us to become a non-profit organization, and by 3rd Ward, the organization that has donated the use of their brand new Art Production Facilitates to host the festival. The BAPLab is July 22nd 2006 at 3rd Ward in Bushwick, from 4pm til 6am. Located at 195 Morgan Ave. Brooklyn, NY. 11237 (on the corner of Stagg St. and Morgan Ave) Subway: L train to Morgan Ave. Confirmed Artists: Craig Colorusso Judd Greenstein Jackson Moore Mechanique(s) Miya Masaoka Richard Chartier Keith Fullerton Whitman Ketamine Stars Like Fleas Change The Station Mon.Key.Pod Nate Boyce Lance Blisters David Linton, Charles Cohen, Anthony Coleman Trio Harkness A/V Salon featuring Mighty Robot A/V Squad Nick Hallett Sonogrammar: Richard Garet, Andy Graydon, MPLD, Ian Epps and Ben Owen Calmer Benoit Pioulard Landau Orchestra Helios Bubblyfish MachineDrum Lusine Insideout & Camea Ryan Elliott Ryan Crosson Hakan Lidbo Surprise Guest Civic Handshake RJ Valeo David Last Nicholas Sauser Tim Xavier Nick AC (Robots) Wolf + Lamb Eva & Igal (Loft N Space) Vortex Bruce Tovsky Ray Sweeten Fair Use Trio: Zach Layton, Luke DuBois & Matty Ostrowski David First Morgan Packard Sawako Pandatone Ezekiel Honig Khonnor + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org 2005-2006 Net Art Commissions The Rhizome Commissioning Program makes financial support available to artists for the creation of innovative new media art work via panel-awarded commissions. For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected to create original works of net art. <a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a> The Rhizome Commissions Program is made possible by support from the Jerome Foundation in celebration of the Jerome Hill Centennial, the Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and the New York City Department of Cultural Affairs. Additional support has been provided by members of the Rhizome community. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 8. From: newmediamarketing@spacestudios.org.uk Date: Wed, 12 Jul 2006 Subject: SPACE Media Arts announces 4 new artist commissions focussed on RFID ***SPACE Media Arts announces four new artist commissions focussed on RFID*** SPACE Media Arts is pleased to announce the commissioning of four new artworks focussed on Radio Frequency Identification (RFID) technology by artist collectives C6, boredomresearch, Processing Plant (Louis Philippe Demers and Philippe Jean), and Mute-Dialogue (Yasser Rashid and Yara El-Sherbini). Even if you don?t know what a Radio Frequency Identification (RFID) tag is, you?ve probably used one, whether it?s at your local grocery store checkout, using an Oyster Card or in your passport at the airport. RFID is the barcode of the future. The tags can be read through radio waves without any contact and, potentially, without your knowledge. With widespread adoption across many commercial and public industries, RFID is set to shape societies of the future. Through these commissions, SPACE Media Arts is encouraging artists, technologists and ?end-users? to explore RFID technology from alternative perspectives. These works, along with a site-specific Oyster Card performance by artist Paula Roush, will be exhibited in //Tagged//, opening at SPACE on 5 October and running through to 18 October 2006. A newly-commissioned text by Armin Medosch will accompany the exhibition. For more information, contact Heather Corcoran on +44 (0)208 525 4339 or by email at heather@spacestudios.org.uk. ***Further information:*** REALSNAILMAIL is a project in development by *boredomresearch*, employing RFID technology to enable real snails to carry and deliver electronic messages. Is there a place in our speed obsessed lives for a service that takes time? iTAG by *Processing Plant* is an ironic statement about the electronic pollution that surrounds us ? a portable device that reads RFID tags from surrounding products and generates ambient musak inspired from this collected data. *Mute-Dialogue* will create an interactive installation exploring tagged objects and their histories in ORIGINS AND LEMONS. The project subtly critiques the use of technology to access histories, and asks how we know the world we live in through interactions with material objects. *C6* will implement RFID technology in the ANTISYSTEMIC DISTRIBUTED LIBRARY PROJECT, an alternative distributed library of community shared books, videos, and music. With institutional libraries acting as one of the earliest adopters of RFID technology, how does RFID fit in with more radical ideas of librarianship? And what are the radical politics of RFID itself? //SPACE Media Arts is at 129 ? 131 Mare Street, Hackney, London, E8 4AA | <a rel="nofollow" href="http://www.spacestudios.org.uk//">http://www.spacestudios.org.uk//</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 9. From: vandegrift2003@yahoo.com Date: Fri, 7 Jul 2006 23:38:07 Subject: Paradigmatic Performance- Sean Ulbert Paradigmatic Performance by Sean Ulbert (June 2006) ?Paradigmatic Performance? is the concept of performing something in a way that follows a set of assumptions, concepts, values, and practices that constitutes a way of viewing reality for the community that shares them, especially in an intellectual discipline. An example of this can be found in the article, ?Max at Seventeen,? by Miller Pucket. His work is responding to newer technologies associated with the growing computer music movement. He describes his work on a computer environment where he can realize live computer compositions. With this creative and performative environment come three programs, Max/MSP, Jmax, and Pd, which he says is part of the ?Max paradigm.? (Pucket p.1) ?The Max paradigm can be described as a way of combining pre-designed build ing blocks into configurations useful for real-time computer music performance. This includes a protocol for scheduling control and audio sample computations, an approach to modularization and component intercommunication, and a graphical representation and editor for patches. These components are realized differently in different implementations; and each implementation also offers a variety of extensions to the common paradigm. On the surface, Max appears to be mostly concerned with presenting a suitable ?graphical user interface? for describing real-time MIDI and audio computations. However, the graphical look and editing functions in Max aren?t really original at all, and most of what is essentially Max lies beneath the surface.? (Pucket p.1) Because there is a set of assumptions, concepts, values, and practices now associated with his work, he can now describe it more clearly. Furthermore, he can now say what it does well, what it does not do well, how it can be improved, or modified, etc. The concept of ?Paradigmatic Performance? is important because when it is expected to be followed, and is not, the break from the norm is that much more noticed. A stimulating or surprised feeling may occur when an audience assumes a performer is following one paradigm, but later find out he/she is following another. A lack of guidelines can often make critiquing art problematic. This is expressed in the editor?s vision at the New Media Caucus Journal online: ?As new media artists and educators we often face the challenges of a lack of familiar guideposts for assessing excellence both for our selves and our students and in articulating these standards to the institutions with and in which we do our work. In reviewing submissions we will look especially for those artworks, research reports and essays, which will help our community, define itself in academic and professional contexts. To this end submissions will be subject to a rigorous peer review process based on criteria articulated by the editorial board. As well as showcasing the work of new media artists, we are looking for submissions that will launch new inquires or prompt debate. Artists and authors should ask themselves what is at stake more generally in their submissions, how their ideas advance and support the nature of and our understanding of new media. Most of all, we would like submissions to be provocative, lively, engaging, distinctly voiced, and well executed.? ! (<a rel="nofollow" href="http://www.newmediacaucus.org/media-n/index.htm">http://www.newmediacaucus.org/media-n/index.htm</a>) Constraining oneself to a paradigm while performing something can make for fascinating results. An artist may want to respond to popular reality TV trends, along with rapidly growing online networks like Myspace, and create his/her own paradigmatic performance. This performance could be a reality show, played on a Myspace page video player, where contestants compete to make their Myspace page the most visited. The paradigm could include only being able to use Myspace as their communication to the outside world. Being that Myspace is heavily music based, the same concept could be applied to competing bands, with a record contract being the incentive for the winners. Working in conjunction with Myspace, the artist would be both exposing his paradigmatic performance project to a possibly huge audience while altering Myspace?s own paradigm as a peer-to-peer network/marketing tool, into a television show-like vehicle. With the popularity of Myspace having over 83 million! members (Myspace.com) and just behind website like Google and Amazon, a successful project like this could tip already dropping television ratings even further in favor of internet entertainment. The entertainment industry is already responding to the technology that the Internet offers with online ?television? and ?radio? shows, ?magazines?, and more. Therefore, it seems only inevitable that the Internet will eventually be the center of household entertainment. Television and the Internet themselves have paradigms of their own. This would be an important thing for the artist to consider because as he converges two paradigms, it should be noted what is compatible with each other, what is prohibited, and what emerges. Of course, the Internet would be the governing vehicle, and therefore the most prevalent. Our view, as a society, of television shows would most likely play a role however, in determining what kind of show could be played, or how successful it would become. It is not only the performance paradigm that is changing, but also the paradigm that markets the performance. Probably the most noticeable part of the entertainment business that has had to change their traditional paradigm is the music industry. Record sales are generally lower while online music sales, from sites like iTunes, continue to rise. Record executives now know that online marketing and sales are essential for a successful album. Interestingly, when there is a lack of something online, it can also create more of a demand. Some record companies have recently held off on releasing singles online before an album debuts with encouraging results. (Rolling Stone.com) Even the way many mainstream bands sell tickets for their performances are evolving. After tiring of scalpers buying large quantities of tickets early on, then bidding them for incredibly high prices on Ebay, mainstream musicians adopted the same tactic and now wait until concert dates draw closer and bid tickets for good seats, many times for sold out shows. (Rolling Stone.com) Another example of artists using the paradigm of an ?unconventional? outlet to express themselves is Anne Marie Schleiner?s series of modification to Counterstrike, a popular online first person shooter, called ?Velvet Strike.? Within the constraints of the online video game, along with a few unintended program modifications, Schleiner expressed a series of anti-war protests and interventions with mixed results from the regular players. Game modifications like this are known to some as ?artist games,? which helps illustrate the fact that these are not just programmers tweaking game play, but artist creating works for people to interact with. Even Counterstrike, which has been overwhelming embraced, is a modification of a game called Half-life. It is important to realize that using one paradigm to express something that is typically thought to be a part of another practice can often alter the state of the utilized paradigm forever. Schleiner believes that ?computer games are becoming an adult creative medium, like film or literature. As people grow up playing games they dont just stop at a certain age. Creative people who live and breathe games also want to make new kinds of games.? It is obvious when comparing retro games like Pong or Donkey Kong, that it is not only the graphics and technology that have improved. Creative design and concepts make up a huge part of the new generation of games. Video game companies do not just hire programmers, but pay large sums to individuals involved in the visual arts and musicians. (opensorcery.net/interviewp.html) Putting visual artists and musicians to work in the video game industry is a very good example of paradigmatic performance. They are not only confined to what is appropriate for the game and what the company is looking for, but what the game can actually handle and utilize. Their completed work will typically not be interacted with where music and visual art is usually dealt with (i.e. concert halls, arenas, museums, schools). The players will be able, in most cases, to manipulate the work, and it will be watched and heard by viewers in homes and other recreational places. Most good artists know that a paradigm for their performance does not have to be a constraining idea. Knowing what the boundaries are and what is typical can often lead to a more focused outcome. Furthermore, any deviation will be that much more pronounced, contentious, or amazing. The longer a paradigm is used in an art form the higher its chance of being considered cliché. In pieces by New York artists Jennifer and Kevin McCoy, they refer to film material conjured from popular culture. They restage and rearrange scenes into new assemblies with the use of software developed for doing so. ?In some of their works the viewer decides, what he wants to see; in others, the computer makes the decision on editing and course of action. Using digital technology, they examine the narrative structures of film and TV and re-enact conditions of production in filmsettings en miniature. Their performances, web-based works, computer installations and video arrangements combine mass media clichés of mainstream cinema and popular TV series with personal experiences and memories. Apart from the appropriation and the remake of existing film sequences into complex sculptural re-enactments, their own private life is staged as a filmic experience.? (edith-russ-haus.de/ind! ex-english.html) In ?The Randomness of ?Randomness of Certainty,? Zev Robinson discusses his project artafterscience which he formed with Adrian Marshall ?to explore the intersection of art, science and technology, and as an open-ended project in collaboration with others.? They often use randomness not merely as a paradigm, but also as a way of operating. It has developed into a foundational component in creating their projects. They used the program Flash to create a project where the viewer never sees the same thing twice. The colors, movements and juxtapositions were totally random. The argument on whether or not a computer can actually generate randomness, or whether randomness even exists, was not a question considered in the paradigm. ?What is important is that a series of images and events occur that the viewer cannot predict nor will see again.? Robinson became interested in a performance by John Cage?s while in art school. This performance entailed Cage reading Finnegan?s Wake while random images were presented in a slide show. Ideas like this, which were concerned with free-association in art helped create the paradigmatic performance of some of his later works with artafterscience. This entailed, ?Going out and videoing chance occurrences, whatever comes across the camera or whatever the camera comes across, then cutting it up and reassembling it into a broken, non-linear narrative based on music has been the process in the creation of many of my video works. Unlike the Flash-based pieces, the form is fixed, but randomness and free-association are still central to them.? John Cage?s ideas also appear in other artafterscience projects like Air Waves. This project merges the ideas of reproducing his Imaginary Landscape No.4, for twelve radios, for the digital age, with the clichéd monotony of mass media and marketing. This helps illustrate that once a paradigm is developed, by an artist it is tempting to keep some aspects of it. Having a multiple performances with the same paradigm in mind can often help an artist to develop a personal style. Robinson says, ?Sometimes it seems that Cage himself is part of the random process of artafterscience.? He then talks about how he was introduced to the Italian pianist Claudio Crismani, who is interested in creating ?The Prometheus Projec?t, an audio-visual project based on the synaesthesia of Russian composer Alexander Scriabin Crismani has also recorded a double CD of Cage?s ?Etudes Australes,? which is being used for a video installation based on Edward Lucie-Smith?s poem on Caravaggio. He told one of the scientists who had been interviewed for ?Randomness and Certainty? about his various projects, including the one on synaesthesia, and the scientist suggested he contact another scientist doing research in that field. ?We will be developing a sci-art project with her, perhaps within the context of ?The Prometheus Project?, perhaps separate from it.? In an essence, having a paradigm for his projects to work with created a situation where various works of his were connected, creating a full circle. Robinson stated, ?What seems like a series of random coincidences, or perhaps a confluence of events, has created a momentum and Zen-like flow within artafterscience. The randomness element is important not only as subject matter but as a way of working and of being.? Robinson goes on to talk about collaborating on a new media piece, gradually creating it over the path of several months and gatherings, until distilled into ?Randomness and Certainty.? He would ask scientists how their professional familiarity has affected their individual perception of life. He is doing this with Barbara Zanditon, who has an enthusiastic interest in both science and the arts. ?The interviews are then edited and included in a Flash-based work, in random order and juxtaposed randomly with a variety of images. If scientists are being objective, then why do they disagree on just about everything? As the focus of much of artafterscience's work has been how context affects meaning, ?Randomness and Certainty? explores to what extent this (the imagery, the other interviews) affects what they are saying. __A fascinating coincidence often occurs between what is being said and the imagery, as well as between the interviews themselves ? it is as if the scientists! are often talking to each other.__The dichotomy between the subjective and the objective is another aspect of the question, or at least our idea behind the question, and that is that science is a human activity, created by humans, of interest to humans, and affecting us all. A wide variety of subjects are talked about, including the relationship between science and religion, between humans and nature, being a woman in a male-dominated environment, the role of knowledge and of education in peoples? lives, and how and why they became (and, in a few cases, stopped being) scientists.? This is a good example of the interesting results that can result from a performance based on a paradigm of randomness. Robinson also talks about the distinction between paradigms being broken down between science and art. Hence, he plans to create additional projects, which merge new media and digital art in the future. Again, although he subscribes himself to one kind of paradigm he does not constrict himself to all that he is expected to follow stating that, ?Artists no longer have to be confined to gallery spaces, but can use web sites, CD-ROM?s, DVD?s and video screenings to show their work and promulgate their ideas, undermining many recent theoretical assumptions and myths about what is and is not art. It has made many of our projects and ways of working possible.? (<a rel="nofollow" href="http://www.newmediacaucus.org/media-n/2006/v02/n01/Sp06_Robinson.htm">http://www.newmediacaucus.org/media-n/2006/v02/n01/Sp06_Robinson.htm</a>) Paradigmatic performance is important because it creates a set of assumptions, concepts, values, and practices to associate with a piece of work. It can be described more easily and it is more clear what it does well, what it does not do well, and how it can be improved, or modified. Conversely, the concept of paradigmatic performance is important because when it is expected to be followed, and is not, the break from the norm is that much more noticed. When rules are broken in fascinating ways, or contexts, it allows a form to grow, or gives birth to new ideas altogether. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the New Museum of Contemporary Art. Rhizome Digest is supported by grants from The Charles Engelhard Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the Visual Arts, and with public funds from the New York State Council on the Arts, a state agency. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN: 1525-9110. Volume 11, number 27. Article submissions to list@rhizome.org are encouraged. 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